Social depictions of the AntiChrist (the Biblical adversary of Jesus) abound in film and literature, arguably most notably in the Gregory Peck film The Omen, in which the 'demon-child' is depicted as an adopted hell-sentinel suspiciously observed, protected, and/or pursued/challenged by various people with metaphysical intentions.

After the revolution in film-making conceived by Alfred Hitchcock, film-makers were more experimental in presenting graphic images with shock-value (meant for all kinds of incendiary public dialogue). Horror-film directors such as Tobe Hooper, Rob Zombie, Clive Barker, and Neil Jordan felt more courageous in using apocrypha-oriented storytelling for mass audiences.

So evaluating how the AntiChrist has been depicted in horror films can help us better appreciate how changes in art trends have impacted the manner of 'purgatory presentation.'

Alastair realized he was indeed the AntiChrist when he looked at his scalp in the mirror on his 21st birthday (where a persistent itch kept annoying him) and saw the Biblical flesh-marking (a muscular tumor-like contortion) '666' in perfect shape! Alastair was raised by aristocratic parents in Switzerland and attended a private school there where he became interested in film-making and fashion-design. Alastair had as a personal guidance-counselor named Mr. Thomas Jones. Alastair now wondered if Mr. Jones was the Devil (or Satan) himself! Mr. Jones always told Alastair (as he was growing up) about the 'complexity' of mankind's 'corrupt kitchens.'

Alastair picked up his phone and called Mr. Jones and requested to meet with him at a nearby Catholic church. Alastair confided in his trusted counselor and explained to him the strange '666' marking on his scalp and was sure he was indeed the AntiChrist (sent to Earth to defy the norms and customs of 'modern civilization'). Mr. Jones got up on his feet, smiled at Alastair, and told him straightly that he was Satan (the Devil) here to guide him on his way and protect him to ensure that his 'mission' was completed. Alastair was, of course, a bit reluctant and pensive --- he was afraid of the overwhelming burden of such a daunting 'mission' and wondered if he could simply 'play-the-part' of the Jesus-adversary doing more 'menial' (or even crude!) types of crime!

Mr. Jones (Satan) sent Alastair on his way, and the young 'man' decided to move to NYC (to a very nice apartment in Manhattan) his guardian/father purchased for him. Alastair began work at a prestigious Wall Street consulting firm, establishing PR-ties to important high-society clients (one client was Prince William of England!). Alastair used his push-and-pull at this firm to create all kinds of cunning profiteerism-based 'labyrinths' such as one involving British Petroleum (BP), an Algerian wind-farm company, and a Socialism Merchant's Union in Chechnya. Alastair decided he was doing everything 'possible' to assert his 'presence' as a confusing 'diplomat' of modernism problems/corruption/avarice and could therefore be 'appreciated' by Mr. Jones (Satan) as a 'worthy' challenger of Jesus of Nazareth.

When Mr. Jones demanded that Alastair engage in 'real crimes,' the now 24 year-old Manhattanite decided to invite beautiful young women (he'd meet in NYC night-clubs) to his awesome apartment, get them really drunk (until they became unconscious) and then bite their necks (like a vampire!) and drain their blood until they died. Alastair killed about 15 women in all in this manner and kept photos of all the dead bodies (before cremating them in his apartment-complex basement furnace). He supplied the photos to Mr. Jones who was delighted! Alastair decided that he wasn't a 'real' vampire or a 'metaphysics adversary' but certainly some kind of real 'bloodlust prophet.' The future of mankind now hung in the balance.